Oleanna
A Power Play
by David Mamet
directed by Preston Lane
October 18 – November 8, 2009
Every story has two sides.
When an unconventional professor tries to help a struggling female student who is failing his class, the end result is far beyond what either originally expected in this shocking case of “he said, she said.” What begins as a simple meeting behind closed doors leads to misinterpretations, accusations and a high-stakes struggle for power. This controversial play by David Mamet (creator of The Unit and author of Glengarry Glen Ross) promises to defy expectations and challenge opinions. Who is right; who is wrong? Who is to say in this examination of power, privilege and political correctness?
Running time: 75 minutes (with no intermission)
“Director Preston Lane wrings every drop of tension out of two people trying to plumb each other's psychological depths. Half the fun...is hearing the gasps and observing audience members unable to curtail their whispers as their eyes are riveted on the play.”
–Lynn Jessup, Classical Voice of North Carolina
Click here to read the full review
“The shocking climax is almost expected, but still leaves the audience breathless.“
–Keith Barber, YES! Weekly
Click here to read the full review
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Please note: This production contains adult language and themes.
When Oleanna first appeared in 1992 it was one of those plays that comes along once every so many years that seems to be ripped straight from the headlines of the daily news. At a time when the nation was divided by the “he said/she said” spectacle of Clarence Thomas’ Supreme Court confirmation hearings, Oleanna seemed not only topical but incendiary. This was, after all, a play that on the surface seemed to be about sexual harassment written by America’s right-wing playwright—David Mamet. No stranger to controversy, Mamet has always been a favorite target for feminists, liberals and progressives—the theatre community at large? Profanity and misogyny were frequent criticisms of his work.
I was outraged the first time I saw the play, furious at Mamet, furious at a good half of the audience and furious at myself for loving the play as much as I did. Oleanna was not merely ripped from the headlines; it was ripped from our national soul—exposing the fault lines not only of male/female relationships, but of our relationships together as a rational, thinking society.
Unlike so many plays that were once topical, I think Oleanna has stood the test of time to emerge as a contemporary American classic. It divides us as audience members with its searing debate, not about a specific issue, but about the uses and abuses of power. And in the end it gives us a place to reach out to those who oppose us and encourages us to balance each side of our multifaceted national story to find a better way to preserve this imperfect utopia—America.
 Preston Lane |
